Brooks shows that Faulkner's strong attachment to his region, with its rich particularity and deep sense of community, gave him a special vantage point from which to view the modern world.Books's consideration of such novels as Light in August, The Unvanquished, As I Lay Dying, and Intruder in the Dust shows the ways in which Faulkner used Yoknapatawpha County to examine the characteristic themes of the twentieth century. Contending that a complete understanding of Faulkner's writing cannot be had without a thorough grasp of fictional detail, Brooks gives careful attention to what happens: In the Yoknapatawpha novels. He also includes useful genealogies of Faulkner's fictional clans and a character index.

    His brilliant and provocative essays made him the literary voice of the Civil Rights Era, and they continue to speak with powerful urgency to us today, whether in the swirling debate over the Black Lives Matter movement or in the words of Raoul Peck’s documentary “I Am Not Your Negro.” Edited by Nobel laureate Toni Morrison, the Library of America’s Collected Essays is the most comprehensive gathering of Baldwin’s nonfiction ever published.With burning passion and jabbing, epigrammatic wit, Baldwin fearlessly articulated issues of race and democracy and American identity in such famous essays as “The Harlem Ghetto,” “Everybody’s Protest Novel,” “Many Thousands Gone,” and “Stranger in the Village.”Here are the complete texts of his early landmark collections, Notes of a Native Son (1955) and Nobody Knows My Name (1961), which established him as an essential intellectual voice of his time, fusing in unique fashion the personal, the literary, and the political. “One writes,” he stated, “out of one thing only—one’s own experience. Everything depends on how relentlessly one forces from this experience the last drop, sweet or bitter, it can possibly give.” With singular eloquence and unblinking sharpness of observation he lived up to his credo: “I want to be an honest man and a good writer.”The classic The Fire Next Time (1963), perhaps the most influential of his writings, is his most penetrating analysis of America’s racial divide and an impassioned call to “end the racial nightmare…and change the history of the world.” The later volumes No Name in the Street (1972) and The Devil Finds Work (1976) chart his continuing response to the social and political turbulence of his era and include his remarkable works of film criticism. A further 36 essays—nine of them previously uncollected—include some of Baldwin’s earliest published writings, as well as revealing later insights into the language of Shakespeare, the poetry of Langston Hughes, and the music of Earl Hines.

    

    This book would be impressive enough as a collection of finely-forged fragments, but as it weaves itself into an even more impressive whole, my hat came off. Lily Hoang writes like she has nothing to lose and everything at stake.” —Maggie Nelson“A Bestiary is a work of great subtlety, precision, intelligence, daring, and emotive keenness. It seems completely contemporary (by which I mean that it is unlike anything I’ve read and that it makes me want to change my own writerly procedures). With head¬long, reckless, improvisatory gestures, Lily Hoang prompts us to rethink what literature today can dare to aspire to. Her intellectually magnanimous book’s position on the threshold between recognizable ‘literature’ and some other vanguard form of performance/utterance made me feel happy and stimulated and dizzy (in a rapturous way) while I was reading it.” —Wayne Koestenbaum“The most perfect use of fragmentation, myth, language, fairytale, and terrible beauty that I have ever seen in my life. I’m swooning. My faith in what writing can be has been restored.” —Lidia YuknavitchLily Hoang is the author of four books, including Changing, recipient of a PEN Open Books Award. She has two novels forthcoming: Old Cat Lady and The Book of Martha and she co-edited the anthology The Force of What’s Possible: Writers on Accessibility and the Avant-Garde. She teaches in the MFA program at New Mexico State University, where she is Associate Department Head. She serves as Prose Editor at Puerto del Sol and Non-Fiction Editor at Drunken Boat.

    Younghill Kang was born in 1903 in what is now North Korea and arrived in New York in 1921. He continued his studies at Harvard and built a name for himself as a scholar of literature and Asian culture and as an author. His fiction was admired by, among others, Pearl S. Buck, H.G. Wells and Thomas Wolfe. Originally published in 1937, East Goes West met with widespread acclaim despite its biting portraits of racism, alienation and hypocrisy at every level of American society. This eagerly anticipated edition includes informative appendices detailing the author's life and writings, including primary source materials that provide insight into the relationship between Kang and his editor, Maxwell Perkins.

    The Life You Save May Be Your Own is their story - a vivid and enthralling account of great writers and their power over us.Thomas Merton was a Trappist monk in Kentucky; Dorothy Day the founder of the Catholic Worker in New York; Flannery O'Connor a "Christ-haunted" literary prodigy in Georgia; Walker Percy a doctor in New Orleans who quit medicine to write fiction and philosophy. A friend came up with a name for them - the School of the Holy Ghost - and for three decades they exchanged letters, ardently read one another's books, and grappled with what one of them called a "predicament shared in common."A pilgrimage is a journey taken in light of a story; and in The Life You Save May Be Your Own Paul Elie tells these writers' story as a pilgrimage from the God-obsessed literary past of Dante and Dostoevsky out into the thrilling chaos of postwar American life. It is a story of how the Catholic faith, in their vision of things, took on forms the faithful could not have anticipated. And it is a story about the ways we look to great books and writers to help us make sense of our experience, about the power of literature to change - to save - our lives.

    Offering children gems of advice such as "Strive to learn" and "Be not a dunce," it was no fun at all. So how did we get from there to "Let the wild rumpus start"? And now that we're living in a golden age of children's literature, what can adults get out of reading Where the Wild Things Are and Goodnight Moon, or Charlotte's Web and Little House on the Prairie?In Wild Things, Bruce Handy revisits the classics of every American childhood, from fairy tales to The Very Hungry Caterpillar, and explores the back stories of their creators, using context and biography to understand how some of the most insightful, creative, and witty authors and illustrators of their times created their often deeply personal masterpieces. Along the way, Handy learns what The Cat in the Hat says about anarchy and absentee parenting, which themes link The Runaway Bunny and Portnoy's Complaint, and why Ramona Quimby is as true an American icon as Tom Sawyer or Jay Gatsby.It's a profound, eye-opening experience to reencounter books that you once treasured after decades apart. A clear-eyed love letter to the greatest children's books and authors, from Louisa May Alcott and L. Frank Baum to Eric Carle, Dr. Seuss, Mildred D. Taylor, and E.B. White, Wild Things will bring back fond memories for readers of all ages, along with a few surprises.

    In the seventy years since, his wit (and the occasional ‘gaffe’) has continued to endear him to the nation, as he travelled the world taking his unique and charmingly British sense of humour to its far-flung corners. Hailed as a god by a tribe in Vanuatu, the Prince has had his fair share of brickbats from the media nearer home, but his outspokenness never fails to raise laughs – and eyebrows.From notorious one-liners to less newsworthy witticisms and from plain speaking to blunt indifference, the Prince does what we all wish we could do now and again – forgets polite conversation and says what he thinks. In the year in which the Prince has stepped down from his royal duties, this joyous and timely book celebrates his wry humour and supremely wicked wit.

    Ever since Ahn Joo arrived in Arlington, Virginia, with her parents and younger brother, her parents have fought unceasingly about her father's drinking and her mother's lack of respect. It's true, Ahn Joo realizes, that her father contradicts the stereotype of the hardworking Korean immigrant who opens a grocery and proceeds to grow rich in America. Fleeing an abusive father of his own in Korea rather than moving to the US in pursuit of wealth, he lacks ambition and seems happy with his welding job. Still, even eight-year-old Ahn Joo is unprepared for her mother's extreme reaction to her husband's laziness: One day, as Ahn Joo is walking home from school, she sees her mother, with her son in tow, fleeing home in a cab with the puzzling name ``Reliable'' painted on the door. Entering their apartment, Ahn Joo finds a note from her mother promising to come back for her someday, but as the years go by and her mother never calls or writes, the girl is left alone to face adolescence, care for her father, and puzzle out her family's mysteries. The author deftly evokes such vivid moments as Ahn Joo's embarrassment when her father takes over a snack cart in Washington, and her depiction of her heroine's struggle to come to terms with a new land--as well as of the push-pull relationship between father and daughter--are both memorable and moving. In the end, though, the lack of any real catharsis or resolution renders the parts greater than the whole. -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.

    God wasn’t bothered by Jim Crow. Baby Jesus had white skin. Meet Plantation Jesus: a god who is comfortable with bigotry, and an idol that distorts the message of the real Savior. That false image of God is dead, right? Wrong, argue the authors of Plantation Jesus, an authoritative new book on one of the most urgent issues of our day. Through their shared passion for Jesus Christ and with an unblinking look at history, church, and pop culture, authors Skot Welch and Rick Wilson detail the manifold ways that racism damages the church’s witness. Together Welch and Wilson take on common responses by white Christians to racial injustice, such as “I never owned a slave,” “I don’t see color; only people,” and “We just need to get over it and move on.” Together they call out the church’s denials and dodges and evasions of race, and they invite readers to encounter the Christ of the disenfranchised.With practical resources and Spirit-filled stories, Plantation Jesus nudges readers to learn the history, acknowledge the injury, and face the truth. Only then can the church lead the way toward true reconciliation. Only then can the legacy of Plantation Jesus be replaced with the true way of Jesus Christ.

    It was the first Brian Eno album tobe composed almost completely in the confines of a recording studio,over a scant few months in the summer of 1975. The album was a proofof concept for Eno's budding ideas of "the studio as musicalinstrument," and a signpost for a bold new way of thinking aboutmusic.In this book, Geeta Dayal unravels Another Green World's abundantmysteries, venturing into its dense thickets of sound. How was analbum this cohesive and refined formed in such a seemingly ad hoc way?How were electronics and layers of synthetic treatments used to createan album so redolent of the natural world? How did a deck of cardsfigure into all of this? Here, through interviews and archivalresearch, she unearths the strange story of how Another Green Worldformed the link to Eno's future -- foreshadowing his metamorphosisfrom unlikely glam rocker to sonic painter and producer.

    Linguistics. Originally appearing in 1977 and now in its 11th printing, THE NEW SENTENCE by Ron Silliman is a classic collection of essays by one of the sharpest minds in American contemporary poetic thought. It is a collection with rich insight into Silliman's own monumental poetical work and the writing of his peers, a book which both illuminates the concerns of the era in which it was written and radiates outward with a tremendous scope that continues to bear fruit for the contemporary reader. Ron Silliman is a terrific prose critic...positively bristles with intellectual and political energy of a very high order -Bruce Boone.

    Steegmuller starts with the young Flaubert, prone to mysterious fits, hypochondriacal, at odds with and yet dependent on his bourgeois family. Then, drawing on Flaubert's voluminous correspondence, Steegmuller tracks his subject through friendships and love affairs, a trip to the Orient, nervous breakdown and tenuous recovery, and finally into the study, where a mind at once restless and jaded finds a focus in the precisely detailed reality of an imagined woman, utterly ordinary in her unhappiness, whose story was to revolutionise literature.

    The book's first two parts, "Recollections" and "Interviews," provide autobiographical glimpses of the very private Larkin's childhood, his youth at Oxford, the genesis of his forty-year career as a librarian, and the influences that initially steered his poetry. The second half of the book reflects Larkin's literary standards and opinions in often witty and surprising, always beautifully wrought, essays and reviews. His subjects range from Emily Dickinson (were her first lines her best?) to the contemporary mystery novel. Required Writing concludes with a selection of pieces on jazz music."Larkin is a punctilious, honest critic. He prefers good clear writing to pretentious eyewash; he prefers tunes to discordant wailing; and he prefers home to abroad. Unlike the majority of critics, he is clear-sighted enough to say so." --A. N. Wilson, Sunday Telegraph"I read the collection with growing excitement, agreement and admiration. It is the best contemporary account of the writer's true aims I have encountered." --John Mortimer, Sunday Times (London)"Subtle, supple, craftily at ease, Required Writing is on a par with Larkin's poetry--which is just about as high as praise can go." --Clive James, Observer Philip Larkin was the author of poetry collections, including High Windows, The Whitsun Weddings, and The Less Deceived; a book of essays entitled All What Jazz: A Record Diary; and two novels, Jill, and A Girl in Winter, published early in his career. Required Reading was originally published by Farrar, Straus & Giroux.

    It always involves earning our children's trust. Whether we are overwhelmed at being parents, planning to be parents, reacting to our parents, or learning to stand with our kids as they now parent, we need to know there is always a way home, convinced God is in the middle of every stage of our family. Find yourself in this story as you ride along with the Clawsons on vacation. Go inside the episode as each part of the story unfolds, and find the freedom and truth that God offers us as we build trust with our kids, and discover insight and hope for our own painful patterns. This book is filled with joy, insight, wisdom and maybe a fresh way of seeing our families and ourselves. Enjoy the ride.